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Most Famous Ghazal by Jigar Muradabadi


बराबर से बच कर गुज़र जाने वाले
ये नाले नहीं बे-असर जाने वाले

नहीं जानते कुछ कि जाना कहां है
चले जा रहे हैं मगर जाने वाले

मेरे दिल की बेताबियां भी लिए जा
दबे पांव मुंह फेर कर जाने वाले

तेरे इक इशारे पे साकित खड़े हैं
नहीं कह के सब से गुज़र जाने वाले

मोहब्बत में हम तो जिए हैं जिएंगे
वो होंगे कोई और मर जाने वाले

Hello Friends

Check out the most famous Ghazal written by Jigar Moradabadi. Choose from the Ghazals and Sheroshayari collection and share it with your loved ones and partners. Loving someone is great, but falling in love means you can’t live without someone. You can also download these Romantic Status images directly and share them on social media sites with your friends and loved ones.

A Brief History of Ghazal

Ghazal is an Arbic verse structure got from the North African Arabic term ghzl , significance yarn. Another importance of Ghazal is “discussions with ladies” In structure it resembles Petrarchan

The direction of the ghazal is not normal for that of whatever other scholarly structure that has had a past filled with crossing past its spatial limits. A short visit through the entries of this graceful structure and its different courses would uncover the two its uniqueness and all-inclusive intrigue. When the ghazal moved out of the Arabian Peninsula, it found a cordial space in medieval Spain where it was composed both in the Arabic and the Hebrew dialects. In one more occasion, we have the ghazal connecting with west African dialects like Hausa and Fulfulde.

Indeed, even while these ghazals built up their own imprints, they additionally held near the Arabic model by holding the customary Arabic meters and structures. It was just when the ghazal arrived at Persia in the eighth century that it began building up its own shapes even while it didn’t altogether withdraw from the proper examples of the Arabic ghazals. Afterward, the Persian ghazal obtained its positive character when it built up its own complex stamps in restoring the matla, the first sher of the ghazal, and developing an example of holds back (radeef) as the last unit of articulation in the second line of each sher. It likewise characterized the length of the ghazal from seven to 15 shers, and cleared a path for the artists to utilize their mark in maqta, the last sher of the organization.

Abdullah Jafar Rudaki, the main accepted ghazal author of Persia towards the finish of the ninth century, was followed in the sequential requests by other significant artists like Sanai Ghaznavi and Fariduddin Attar in the twelfth century, Sadi Shirazi and Jalaluddin Rumi in the thirteenth and Hafiz Shirazi in the fourteenth century. The Persian ghazal developed further after the traditional models in the ensuing hundreds of years however it constantly separated itself for two of its most unmistakable characteristics: its intense supernatural distractions and its sharp philosophical concerns. The ghazal written in Persian, the prevailing abstract language of focal Asia and India, had a surprising effect and demonstrated very important in the improvement of the ghazal as a prototype type of beautiful articulation in the East.

Outside of Arabia, where it begins, and of Persia, where it has created, it is in India that the ghazal found its most neighborly objective. Regardless of the way that ghazal in India a portion of the time returns to the thirteenth century in the progress of Amir Khusrau, its Urdu indication is precisely recognized in Mohammad Quli Qutub Shah around the second half of the sixteenth century and Vali Deccani in the following century.

Thinking back, one may obviously see that it has gone through a few phases of improvement in structure, substance, and language, since the time it’s first blossoming in the Deccan and its ensuing fanning out in different ways of India. While conspicuous abstract communities like the Deccan, Delhi, and Lucknow made serious conditions for the advancement of the ghazal, a few others spread over the length and expansiveness of the nation supported their own highlights of style. Every one of them contributed together in building a bigger and extensive convention of ghazal composing which has continued developing from that point forward.

Terms used in Urdu Ghazals and Poetry

A ghazal is a progression of couplets. Every couplet is a free sonnet, albeit a topical congruity may create. This component prompts “bounces” between couplets, an irregularity like the connecting in a Japanese renga. As indicated by Elizabeth T. Dim, Jr., in the Persian unique, every “couplet” is one long queue with a solid caesura.

The parts of each sher, generally spoke to as the two lines of a couplet, themselves encapsulate a jump: the subsequent half shocks the peruser by the manner in which it finishes the primary half. Shahid says that “One must have a feeling that line is enhancing line 1, making something happen, surprising us.”

The customary ghazal centers around sentimental love and mystery.

The two lines of the principal couplet (called the “matla”) and the second line of each succeeding couplet have the equivalent monorhyme (qafia) and abstain (radif).

The abstain (radif) is a similar word or short-expression (or even syllable, as per Ali).

A. J. Arberry says that every couplet of the Persian ghazal finishes in a monorhyme (words finishing with the equivalent vowel+consonant mix), however, he doesn’t specify the radif (or hold back).

Arberry is by all accounts alluding to the qafia. “Monorhyme” is an amazing term for the qafia; “hold back” functions admirably enough for the radif, which, all things considered, isn’t a rhyme.

All the couplets are in a similar meter. Shahid doesn’t say much regarding meter; he prompts would-be ghazal writers to utilize some framework for consistency among the lines. This remark appears to recognize the present adaptability and assortment of American prosody.

The writer “signs” the last couplet (makhta) by including her/his name or nom de plume (takhallus).

Sonnets distributed in English as ghazals ordinarily have just the primary element—disjunct couplets. Agha Shahid Ali, in any case, demands that a sonnet can’t be a ghazal without the incorporation of a considerable number of highlights. He particularly demands the radif/hold back. As just stated, he doesn’t specify meter. Avachat says that occasionally the radif is excluded. John Drury’s portrayal of the structure, similar to others I’ve seen, isn’t sure about these points of interest, however, it encourages experimentation.

Plainly, in Persian, Urdu, Hindi, and so forth., the ghazal is a particular and requesting structure. While I feel for Ali’s anxiety with American artists utilizing the term for sonnets that don’t fit the conventional definition, I have a few inquiries and remarks about the adjustment of the ghazal to English.

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اور تو دل کونہیں ہے کوئی تکلیف عدم ہاں ذرا نبض کسی وقت ٹھہر جاتی ہے